Kickboxing Freedom

As an advertising photographer who usually spends hours collaborating with a team of people to curate every detail weeks before a shoot, it was reenergizing to stand in the soles of a documentary photographer. Focused shot of Lacey working on her side kicks I’ve wanted to get back to the gym and start shooting real athletes again. Lacie, is a personal trainer as well as a serious athlete that devotes a great deal of her time working out in various forms. When I heard she was going to a Kick Boxing class, I was intrigued and asked if I could tag along. It was liberating not having to please anyone but myself. Just me, my camera and two kids in beast mode. Most of my work incorporates complex lighting and setups with models, art directors and clients. It was refreshing to shoot without any other voices, just being free to shoot and document what I saw while telling a story. It brings me back to my roots and energizes me to be more creative. Practicing side knee strikes on heavy bag Practicing low kicks with trainer Black and white photo of their regulation kickboxing training gloves Side kick demonstration and training Practicing low kicks on heavy bag Getting geared down after an intense sparring session

Please check out more of this story and others in the sports section on my website!


Tato’s Polo Mallets

Shot for Equestrian Living Magazine, check out some of our photographs of the art of making custom crafted polo mallets at Tato’s. One of the very few creators that caters to the top Polo players from around the globe.

“The most important element of mallet making is the mallet cane, which is crafted from manau, a member of the rattan family typically harvested in Southeast Asia. We order the raw canes with the root, my father makes the decision where to cut it. He’s the one who knows exactly what our clientele is looking for.”

To see more CLICK HERE.

Pegasus World Cup Invitational

Model posing with Pegasus statue at Pegasus World Cup Invitational

Blending  Equestrian Lifestyle and Fashion Photography, renowned photographer George Kamper created a spectacular Cover and spreads for the inaugural issue of Pegasus Magazine. Celebrating the Pegasus World Cup Invitational, George and his unequaled crew consisting of fashion stylist aficionado Danny Santiago, Make up Artist Leslie Munsell of Beauty for Real, with Hair Artistry provided by  Steph Milner Giles conceived the striking Cover and inside spreads.

The Pegasus statue is the 2nd largest free sculpture in the US, immediately following the Statue of Liberty. "Arranging our model and lighting set up for the magic moment was conceived by the team as the defining photo. Additional photos appear in the stables and throughout the Gulfstream grounds. Kamper’s challenges included the safety of the crew and horses and creating lighting and effects on site that would not interfere or scare the race horses.

Take a look at the results, we think they are stunning and worthy of helping to define the much-anticipated sporting event that will surpass the $10 million Dubai World Cup as the world’s richest thoroughbred horse race.

You can read more here: Pegasus Magazine: Pegasus World Cup Invitational - World Red Eye

Model posing by waterfall Model walking with Thoroughbred Horse Model posing by stable door with Horse Model looking back at camera in stable Model posing by stable wall

Can't wait to celebrate our first ever publishing title #PEGASUSmagazine tonight with cover model Karina Gubanova as well as the start of the Pegasus World Cup Invitational weekend. See you at the races! #WREfilms

Posted by Seth Browarnik on Friday, January 27, 2017

To see more of George Kamper's work please visit

Chasing Yachts in the British Virgin Islands with Photographer George Kamper

Capturing a full photography and video library for The Moorings while sailing the British Virgin Islands sounds like a dream project, and it is, if you know how to handle it.    Who did you create these images for? This library of images was created for The Moorings Yacht Charters.   What type of direction did you get from the client?  The client played an important role for us. The goal was to shoot lifestyle images of both a couple and a young family experiencing chartering Moorings yachts in the British Virgin Islands. We shot both stills, video and drone footage. The client would suggest scenarios and wardrobe and we would come up with suggestions as to what we might shoot and then execute the scenarios.     What experience do you have with boating? Was this a factor for the client when they chose you for this project?  I grew up around boats and especially love being on and around the water. My dad was also a merchant marine captain, so we spent a lot of time on very large freighters. At 18, he strongly suggested I procure my “able bodied seaman’s’” license. I dive, sail, and love taking my passion for photography underwater. Being Greek I think we have an inherent love of being near and on the water. We currently live on the Intracoastal waterways along a canal in the “Venice of America” so we’re always on a boat. I can’t say for sure, but I think my previous underwater and yacht photography had to be the deciding factor for them, choosing someone with experience and who knows their way around boats and water-above, below, and in a drone.     How is shooting a library of images for a client different from shooting to a specific image layout? Not everyone is cut out for shooting libraries. We love doing it because it allows us to explore various scenarios and shoot more off the cuff than working from a tight layout. There weren’t any layouts on this, just suggestions that we brought to fruition. Creating artful libraries has become one of our fortes’. We shoot under, on and over the water and boat. We’re very adaptable and have a lot of tricks and knowledge that we bring to the experience. We keep it light and fun and we shoot fast so we don’t capture stale moments, but focus on authentic moments and having fun.   How many days did you have to shoot this campaign?  We were gone for a full week. 6 days on the water in the British Virgin Islands.   How much gear did you bring? We were on 4 sailing yachts. The largest was 60’ or so. That means you can’t bring every piece of gear under the sun due to tight quarters. We brought a Ronin Gimbal for the video, sticks, and shot with the 5D’s. We also brought reflectors, a few led panels, custom cube lights, as well as a drone for the overhead video. It’s a lot of fun, but that comes with challenges including customs, carnet’s, lugging gear, speaking the language of the country, as well as working with the crew and overcoming travel and weather related issues. The norm for any type of travel or boat related photography.   How many people on crew did you bring with you?  I knew I couldn’t bring my usual crew of 5-7 members because of the circumstances of shooting on a boat and travel expenses. I brought my essentials, my multifaceted crew of two. My long time lighting and digital tech Zach, who was also a second shooter once we had the general scene set up and who contributed quite a few strong images to the library and my wife Sherryl, who not only steps in as a model from time to time, but is a Production Assistant and helps with general styling, keeping track of wardrobe, props, makeup and hair.     Was it a challenge working within such tight moving spaces like a sailboat?  Most of the work we were doing was above deck so we had a blast and were able to find great angles for everything. My crew is also very experienced with boating life, so no one got seasick or dropped anything in the water!   What is the most important element on this type of shoot? It’s all about the light when you’re on the water. Shooting ship to ship, in beautiful light, is an opportunity to create amazing images. Partnering with a great crew who love every minute of the opportunity. Offering very strong support on the back end as well, we very often encounter a cloudy or rainy day that we transfix into a beautiful sunny experience in post. We don’t have the luxury of not shooting when we’re on a trip. We’re always shooting and there’s always a camera within reach. If you want real moments, you have to be willing to live in them, and I think that’s one of our strengths. We surpassed client expectations and the challenges of returning from rainy days and challenging moments by loving what we do!   Was it easier working with a real couple and a real family?  The couple was authentic, that was great. The family had worked together many times before, so the whole crew was super tight and still communicate frequently. The first print ads just came out and it was actually the models who notified us and were super excited about the ads. Really cool gatefolds in Yachting magazines.     What was the biggest challenge?  We really would have liked to have had more time to explore the islands and a little better weather. We had cloudy days for 3 of the 6 days, so we dropped in skies in many of the print ads. Weather is something, try as we might, that we just can’t seem to control. This is where we rely on our in-house expert retoucher, Christine to lend a hand. Replacing skies, creating clouds and lighting to match the scene, compositing images, swapping heads and taking out entire landmarks are something out of a sci-fi movie, but a necessity when it comes to working in the real world shooting on location for advertising.   How did you like working with a drone on a project like this?  We love shooting with the drone. Drones automatically offer you a new and often times unexplored perspective. In video, the moves and possibilities are endless.     Being a father yourself and having raised your own family around boating and the water have any influence on this project?  Well, we certainly know how to have a good time around the water and can quickly create real action and authentic scenarios for our shots based on our prior experiences with the kids. My wife Sherryl is also in several of the main shots and has been instrumental in helping with keeping it real, checking on make up and general support on these shoots.   How many final images did you deliver?  We delivered all the raws and 70 or so final retouched files for reproduction.   How were the final images used? Print Ads, The Moorings website and their Blog.   To see the more of my shoot with The Moorings please visit my website at GEORGEKAMPER.COM Follow me on Instagram and Facebook!

When Night Falls

Dark, mysterious, haunted even? Styled by Danny Santiago with unique pieces from local designers and shops, here is When Night Falls Venice Magazine and Photographer George Kamper had a different vision for the Bonnet House. What happens at night inside the Historic Bonnet House? The Bonnet House Museum and Gardens comes alive at night with dramatic headpieces and wickedly beautiful ensembles. Thank you Bonnet House Museum & Gardens Photographed for Venice Magazine Publisher: Carlos Suarez Editor: Nila Do Simon Photographer: George Kamper Model: Marina Z  Wardrobe Stylist: Danny Santiago Stylist Asst: Alfred J. Barrera Make up & Hair: Eddy de la Pena Digital Tech: Zach Scheffer Photo Asst: Felipe "Flip" Patino 2nd Asst: Huston Ochoa PA: Kasey McCauley Retoucher: Christine Craig Bonnet House Museum & Garden History Photo The Bonnet House was purchased by Hugh Taylor Birch and was given as a wedding present to his daughter Helen and her husband, Chicago artist Frederic Clay Bartlett in 1919. Helen tragically died only 5 years into construction but her husband eventually was remarried to Evelyn Fortune Lilly and they continued to build onto the unique architecture of the home, lavishly decorating the interior and creating the astonishing gardens around the home. Frederic died in 1953 but Evelyn continued to return each winter until 1983 when she gave The Bonnet House to the Florida Trust for Historic Preservation. Her contribution-at the time, the largest charitable gift in Florida history-ensured that the site would be preserved for the enjoyment and education of future generations. Evelyn died shortly after at the age of 109. The Bonnet House is a now a Historical site and tourist destination in Fort Lauderdale Florida.

Into the Wild

A few things I learned about myself on this shoot. I love shooting fashion, it’s fun, challenging and a great opportunity to explore another side of my creativity. It’s also of the moment, so I can experiment and allow things to develop more so then on a commercial shoot. I also love to collaborate and I try to create an environment where anyone on our set can make suggestions and contribute. I like to take care of everyone that’s involved on our shoots. So I think about things like how the model is getting to the shoot in the morning, where’s she’s staying, having fans and liquids on set since we’re shooting in the summer heat in a state park. Bug spray, sun block, getting the model back to the airport in time and with a little chill time for herself, making sure everyone’s dietary needs are met, etc.. (I probably got this from my Mom, who was immersed in the restaurant bizz in NYC, ever since I can remember.) My “Editorial” images come with the full production of an Advertising Campaign. This can be good, because we end up with beautiful images, great lighting and finishing. And it can be bad, since the crew is usually working at an “Editorial” rate, usually half their normal rates to accommodate the magazine’s budget. I’m usually working for free as I try to accommodate my need for a higher production level, and that usually means dipping into my pocket to pay for things the magazine’s wont or can’t. I guess if I’m involved, I have to bring it. I get a thrill every time the model, stylist, or crew look into the monitor and say “Wow”!  For me, that’s pay off enough. I love working with a team, and I’m fortunate that I am supported by such a great group of professionals. This shoot really evolved from what could have been a photographer with a camera and a reflector to a full blow production. I have to applaud Birch State Park for all their support in this as well as Carlos Suarez, the Publisher of Venice magazine, for stepping up and flying in a great girl from NY, bringing in horses for our shoot, great catering, etc.. etc.. If you have 2 minutes please watch the BTS video and check out the credits at the end. We list all the crew, etc… I’d love to hear anyone’s feedback: If you like our fashion check out: 02_ThreeCloseUp_030_r1flatc1web 04_SittingInThree_213_r1flatc1web 05_RiverBed_059_r1flatc1web 06_BranchBridge_088_r1flatc1web 03_UpHigh_036_r1flatc1web 01_Three_070_r1flatc1web 08_HorseWalk_262_r1flatc1web 09_HorseLaying_007_r1flatc1web

George Kamper Shoots Tennis Star Caroline Wozniacki for The Sunday Times Magazine-London

I was excited to have the opportunity to photograph Caroline Wozniacki! I love the game of tennis and appreciate the discipline it takes to play any professional level sport. Caroline was an amazing person to photograph. As you’ll read below, we had very little time to achieve our seven shots at two locations. Caroline stepped up and gave us what we needed almost immediately! She knows what it takes to be a pro and I’m sure she’ll be #1 in the world again soon! Oh, and did I tell you she’s drop dead gorgeous!? I was also very happy to have had the opportunity to work with one of the distinguished editors from the London Times Magazine. I’ve been following their work and it’s always rewarding to see my work published internationally. In our conversations, mostly via email, I was given a few of the parameters of the shoot. The magazine gave us roughly seven images they would like to have shot, three on a tennis court, the rest in and around a pool. The shoot would take place within a two hour time span, on Easter Sunday in Miami, with a internationally ranked tennis star avoiding paparazzi and a writer who was being dispatched from London to interview Caroline immediately following our shoot. Additionally and quite common when working on editorials, there was a very tight budget. Along the way, we were sent a few sketches and a few photos to give us an idea of articles that had been published prior, as well as overall direction regarding wardrobe. carolinewozsketch   LONDONSUNDAYTIMES-CAROLINE1  


The first challenge we had to overcome were the locations. We needed an isolated tennis court so we could set up and control the lighting as well as have Caroline in a space she felt comfortable in, and that was away from onlookers. We also needed a pool area where we could control and secure privacy and that was very close to the first location. We didn’t have a lot of time for changing locations or money for paying location fees, motor-homes, etc... We also didn’t have time for moving in and out of hotels on Easter Sunday. We were very fortunate to have use of our Make Up artist’s residence and pool in South Beach. It worked out that it was only a few blocks away from a friend of her hubby’s, who had a tennis court! We were only allowed 2 hours for this shoot in total, as Caroline needed to be interviewed and catch a flight the same afternoon!

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A couple of additional challenges we had to overcome included our original wardrobe stylist finding out that after she had accepted this project and spoken to the editor, received last minute notification that she had two weeks to move out of her home. The same week of our shoot! Sometimes what feels like a bad situation can turn into an opportunity. I had been talking about and researching a new wardrobe stylist that was doing great work so fortunately and with the help of her Agent she was able to jump in and not skip a beat. I greatly appreciate both of you- Katherine Lande, an amazing wardrobe stylist as well as her agent and friend, Carole Ann Belle of Belle & Co. I also have to give a great big Thank you to Leslie Munsell, our go to make up stylist. She not only hooked us up with the locations, but when the hair artist showed up late, Leslie stepped in and took care of things! Thank you Leslie, you somehow manage to make my life better on every shoot!

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I rely on a top team of professionals for both my Advertising as well as my editorial work. I know and appreciate that every time we do an editorial, they are all kicking in part of their well-deserved fees to help me out on a shoot that has a challenging budget and usually difficult timing! You can catch the Behind the Scenes video and credits below. Many thanks to Christine Craig, my retoucher and editor, for always doing amazing work!  

Behind the Scenes!